How do we humans manage to deal with the meaninglessness is one of the issues that most excites me as a filmmaker and one that I am eager to develop in the project I hereby present you, that is the second part of a trilogy that I spontaneously have called "the lack of existential horizon".

The rupture with the tedium of living for fifteen years the same routine, ends up revealing a fantasy concerning money from Elias, as a portrait of the human condition. I have always been struck by the fact that when we speak about our relationship to money, what we express is nothing else but our relationship with ourselves, being overwhelmingly influenced by its omnipresence in every aspect of our lives.

But Elías' great tragedy is that he makes plans and builds up a project which finally does not depend on him. The commoditisation of Asunción's skills is exposed in a rise-and-fall storyline. The clues and treads of this extraordinary event are marked dramatically by Elías' disease, triggered by a constellation of hopes, anxieties and fears.

On the other hand, Asuncion’ point of view allows us to enter their world as observers of a reality that offers her the opportunity of becoming a heroin. However, we see how it finally overwhelms her, as she also has to witness and bear his father's illness as well as the family's suffering. Asunción, throughout the story, becomes more and more hard-hearted and the transition from childhood to puberty is marked by the discovery of her new gift, which inevitably provokes in Asunción questions concerning her Holy Communion.

Lastly, it’s a key motivator to tell a story where it’s possible to find water from dowsing, an ancient technique around which a number of myths and a lot of misunderstanding circulate. From a story that permits to relate the particularities of the local to a universal problem, this exposition about dawsing offers a concrete and accessible solution to one of the most severe problems currently besetting mankind.